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Kryzys rosyjski i kierunki wyjścia w świetle prac Instytutu EurAzES

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Massaka I.
Athenaeum. Polskie Studia Politologiczne
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2015
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vol. 45
120-142
EN
Works of analysts centered in the EurAzES Institute (EI), among them the dissertation by Vladimir Tamak on modernization of the Russian Federation (2012) and the anonymous “Global Project Russia” (2011), prove the vitality of the Eurasian idea in the RF (Russian Federation) and its political potential. Tamak’s reformatory postulates, as well as, in a lesser degree, the ones of other scholars and activists from the circle of EI, are integrated with the negative opinion on political and social reality in the RF after 1993. The analysis of causes and prospective results of the crisis is directed by the thesis about the Russian and global oligarchic involvement. EI’s neo-Eurasian reformatory projects, promoted as innovative, and the only ones among other modernizing programs announced in the recent years, constitute a compilation of selected elements of classical Eurasianism (i.a. idiocracy, organic democracy, anti-Occidentalism, Orthodox traditionalism), a contemporary version of Eurasianism elaborated by L. Gumilov (i.a. relative autarchy), and neo-Eurasianism by A. Dugin (i.a. vision of the future of the RF as Eurasia’s heartland; non-European model of development of Eurasian industry).
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Epifenomenalny i istotowy wymiar muzyki w polityce

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Massaka I.
Środkowoeuropejskie Studia Polityczne
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2005
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issue 1
155-168
EN
The history of music has taken account of the part music has played in political processes and in particular of its epiphenomenal aspect. If any connection between music and politics is perceived at all, the role of music in politics is demonstrated to be auxiliary and accessory. Music is well known for its extreme efficiency in creating moods and, as a consequence, in creating opinions and attitudes. Therefore its role in politics is usually associated with the support for the cult of the authority in autocratic regimes and with indoctrination of all sorts. The function of music is reduced to that of providing an emotional atmosphere conducive for the transfer and reinforcement of certain ideologies in social awareness. On the other hand, it is observed that mass demonstrative opposition against imposed ideologies is also frequently expressed by means of music.
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Music as a Tool of the Politics of Memory

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Massaka I.
Athenaeum. Polskie Studia Politologiczne
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2011
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vol. 29
88-103
PL
Polityka pamięci jako operacja socjotechniczna polega na oddziaływaniu na pamięć zbiorową w taki sposób, by określone treści związane z historią i wizerunkiem zbiorowości zostały w niej ugruntowane, przedefiniowane lub usunięte. W ramach polityki tego rodzaju rozpowszechniana jest taka wiedza i schematy interpretacyjne, które zgodne są z wierzeniami lub/i zespołem idei odnoszących się do państwa, narodu i władzy państwowej. Polityka pamięci ma na celu integrację społeczności wokół naczelnych przyjętych w państwie wartości, a także wzmocnienie legitymacji władzy, a tym samym uzyskania jak największego poparcia społecznego dla istniejącego porządku politycznego. Wśród narzędzi polityki pamięci rozróżniono dźwiękowe, werbalne i wizualne. Za pośrednictwem dźwięku, słowa (pisanego, mówionego i naddanego muzyce) konstruowane są symbole, szeroko stosowane w politykach pamięci. Symbole, jak i mity są typowym tworzywem rytuałów, które w politykach pamięci odgrywają rolę kluczową celując w emocje zbiorowe. W ramach zabiegów socjotechnicznych przekształcają się w akty tożsamościowe i oznaczniki trwałości struktury społecznej. Rytuały służą integracji i mobilizacji zbiorowości w nich uczestniczącej jak również demonstracji władzy i ferowanego przez nią porządku społecznego i politycznego. Wśród wszystkich narzędzi polityki pamięci wyróżniono muzykę jako fenomen o wartości silnie emotywnej, nastrojotwórczej, o wysokim stopniu abstrakcyjności. Ta ostatnia cecha nadaje jej zdolność oznaczania (symbolizowania) dowolnie wybranych treści. Naturalne właściwości, bogactwo stylistyczno-gatunkowe i sposób oddziaływania muzyki połączony z wiedzą i doświadczeniem systemów sterujących czyni z niej wysoce efektywne narzędzie polityki pamięci.
EN
The politics of memory is a sociotechnical operation of altering collective memory through the redefinition or removal of issues relating to history and to the image of social components, existing within it, or through the consolidation of such issues as its new, vital parts. This type of politics involves the promotion of those sets of information and interpretations of facts which suit the vision of the state shared by the nation and the ruling elite. The goal of the politics of memory is the integration of the society around the values commonly considered supreme in a given country. The additional goal is the strengthening of the legitimization of power and a subsequent gain of as much acceptance of the existing political order as possible. The tools used in the politics of memory can be categorized into three groups: aural, verbal and visual tools. Sounds and words (written, spoken and sung) constitute symbols which are commonly used in the politics of memory. Symbols, as well as myths, serve as the basis for rituals which, in the politics of memory, serve as key tools aimed at shaping the collective emotions. As a result of sociotechnical operations, symbols become both signifiers of identification and markers of integrity of the social structure. Rituals integrate and mobilize the community, but also serve as means of demonstrating the ruling elite’s power and the enforced social and political order. Music has been emphasized as particularly influential on the general mood of different societies, as this particular tool of the politics of memory has a strong emotional impact on its recipients. In addition, music is highly abstract, which allows it to signify (symbolize) any given content. Th e natural qualities and influence of music, as well as the variety of its styles and genres, combined with the knowledge and experience of the ruling elite, makes it a highly effective tool of the politics of memory.
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Signals of Adaptive Social Readiness as a Cornerstone and a Driving Force of Russian Authoritarianism

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Massaka I.
Nowa Polityka Wschodnia
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2019
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vol. 3(22)
9-22
RU
Цель статьи – показать взаимосвязь между особенностями современного российского общества (культурными, социологическими и политическими) и тем, какой политический режим (целостный взгляд на Дж. Линца) существовал в Российской Федерации (в 2007–2015 гг.). Предполагаем, что в то время произошел переход от стабильного авторитаризма к гибридной системе, сочетающей элементы авторитаризма и диктатуры. Мы указываем на существенные черты составляющие характер, менталитет и связанные с ними способы поведения российского общества и их системообразующую роль.
EN
The aim of this article is to show the relationship between, the features (in cultural, sociological and political science terms) exhibited by contemporary Russian society and the political regime (in holistic terms by J. Linz), that existed in the Russian Federation (in the years 2007–2015). We assume that an evolution from stable contemporary Russian society to amalgams system combining elements of authoritarianism with dictatorship has taken place during this period. We point out the essential features that constitute the nature of Russian society and social behavior of political importance. Referring to the theory of “the state in society” by D. Migdal, We put the thesis that it is just the Russian way of thinking resulting in certain behavior, that causes the permanence of contemporary Russian society with a tendency to move on the line continuum toward totalitarianism. Proving that Russian society is not a civil society, but a state society, we determine the structure, the role and the modes of operation of Russian intra-system opposition.
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Muzyka jako narzędzie polityki. Wprowadzenie do dyskusji

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Massaka I.
Athenaeum. Polskie Studia Politologiczne
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2009
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vol. 22
58-66
EN
MUSIC IS AN interesting subject for research in numerous fields. The attempts to introduce it to political science area have been made for certain time. Like in sociology, music is analyzed as an instrument of integration, discipline and – generally – desired stimulations, assumed group behavior resulting in certain political facts. This research is interesting and necessary but, so far, it has not brought any positive results due to its too narrow perspective (e.g. music in totalitarian regimes, music in election spots) whereas it is panoramic and comparative perspective that is desirable (role of music in different kinds of political regime, in various periods and historical circumstances, in different parts of the world). Researchers frequently say that they treat music as a stimulator of group attitudes, focusing on the text supplied (e.g. lyrics of contesting or proselytizing songs). From our point of view the analysis and assessment of the influence of the supplied text cannot be called research in music in politics; it is rather research concerning all factors accompanying music. Research in music as an instrument of politics (music itself, not accompanying areas)ought to focus on its non-verbal and sound aspect. It also needs to be entirely interdisciplinary, using research instruments characteristic to various schools, traditions and academic fields.
6
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Radiowa manipulacja słuchaczem za pomocą materiału muzycznego

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Massaka I.
Środkowoeuropejskie Studia Polityczne
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2006
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issue 2
165-174
EN
The analysis of the material broadcast by radio stations leads the Author to conclude that at present radio aspires to become one of the main providers of entertainment. The advertising slogans, statements of radio anchorpersons, news, songs or jingles make radio broadcasts something like a musical. This musical content remarkably contributes to the atmosphere of lightheartedness and optimism. Music is fragmented to the same degree as the news or announcements, and the listener is usually forced to listen to only a fragment of a speech or song. The recordings are not run to the very last sounds as when one approaches its ending the beginning of another one overlaps it immediately. Mixes of different songs are also played, including several bars of each, which is reminiscent of a video-clip for the ears.
7
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Polityczna funkcja muzyki. Antyteza estetyki autonomii dzieła muzycznego

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Massaka I.
Środkowoeuropejskie Studia Polityczne
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2003
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issue 1
75-94
PL
This paper contains – in the historical context – the analysis of musical forms as an efficacious and sufficiently universal means of acting, governing, assembling and putting under discipline different societies (including nations) that are considered as a unity, as well as respective society groups. Here, music is considered both as a domain accompanying political phenomena as well as phenomena that are par excellence political. It is treated as an ideological instrument used by exponents of any ideology, who apply it not only for decorative purposes but first of all for the purpose of inciting the instinct of massive solidarity, enthusiasm, unanimous will and belief. The presentation is a polemic on the belief that prevails in the research on musicology that musical production is autonomous and it is considered exclusively as an act of free expression.
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